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(一) 未来的历史学家或许会十分惊愕地发现:在1976年以后的十年间成名的中国文艺家是极其幸运的。他们适逢吉时。在一个社会政治气候虽然时或乍暖还寒,但总体上是在逐渐走向宽舒、熙和与晴朗,又没有武侠小说和言情文学,没有普及的电视、卡拉OK歌舞厅,没有流行歌星卷起的狂热和生活类通俗文化报刊的泛滥,更没有港台大众文艺冲击的人文环境中,他们中的一些人以政治文化反思的激情与灼见激起巨大反响,另一些人则以艺术形式或语汇的稍许变异出新而赢得广泛的关注。那时,在刚刚穿越过历史大裂谷和文化大荒漠的中国社会,
(1) Future historians may find, with great surprise, that Chinese artists who became famous in the decade after 1976 are extremely fortunate. They are good luck. In a socio-political climate, though it may be warm and cold at first, it is gradually moving toward Kushu, Hee and the clear, there is no martial arts novels and novels, no popularization of television, karaoke OK song and dance halls, no popular singers rolled up Of the fanatical and popular literary newspapers and magazines, and even without the impact of popular literature and art in Hong Kong and Taiwan, some of them aroused great repercussions in the passion and insight of political and cultural reflections. Others, in the form of art or vocabulary A little variation has gained wide attention. At that time, in the Chinese society that just crossed the Great Rift Valley and the Great Cultural Desert,